Amfortas

But the use of live video onstage — highly effective in an unsparing perspective on Amfortas’s bloody wound being probed and dressed — elsewhere just shows us close-ups of what we can already see, as at a stadium concert.

The tenor Andreas Schager is tirelessly passionate and convincingly boyish as the guileless Parsifal, and the bass-baritone Derek Welton is mournful yet reserved as Amfortas, the wounded king of the Grail.

His suave, mellifluous voice and intense stage presence have made him superb as Mozart’s Don Giovanni and Rossini’s Figaro, and a scene-stealer as Amfortas, the wounded king in Wagner’s “Parsifal.”

It’s what has made his Amfortas in Wagner’s “Parsifal” unconventional yet arresting: searing clarity that scales down melodrama to something more rendingly human.

Munich provided stronger singing, offering a number of ideal performances, including Ekaterina Gubanova’s Fricka, Ain Anger’s Fafner and Hunding, and Christian Gerhaher’s Amfortas, a deranged portrayal that involved some of the ugliest sounds this cultivated artist has ever deliberately uttered.